The Philadelphia Orchestra

Shostakovich: Notes for StalinA Symphonic Play Written and Directed by Didi Balle

Yannick Nézet-Séguin ConductorJered McLenigan ActorRichard Poe Actor Tony Tsendeas Actor

Shostakovich: Notes for Stalin

Intermission

Shostakovich Symphony No. 5 in D minor, Op. 47 I. Moderato—Allegro non troppo II. Allegretto III. Largo IV. Allegro non troppo

This program runs approximately 2 hours.

This is an original presentation by The Philadelphia Orchestra.

This presentation is made possible by support from the Hirschberg-Goodfriend Fund in memory of Adolf Hirschberg as established by Juliet J. Goodfriend and by the Wells Fargo Foundation. Additional funding comes from the Annenberg Foundation, the Pennsylvania Council on the Arts, and the Pennsylvania Department of Community and Economic Development.

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Season 2012-2013Friday, March 1, at 7:00

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The Philadelphia Orchestra

Renowned for its distinctive sound, beloved for its keen ability to capture the hearts and imaginations of audiences, and admired for an unrivaled legacy of “firsts” in music-making, The Philadelphia Orchestra is one of the preeminent orchestras in the world.

The Philadelphia Orchestra has cultivated an extraordinary history of artistic leaders in its 112 seasons, including music directors Fritz Scheel, Carl Pohlig, Leopold Stokowski, Eugene Ormandy, Riccardo Muti, Wolfgang Sawallisch, and Christoph Eschenbach, and Charles Dutoit, who served as chief conductor from 2008 to 2012. With the 2012-13 season, Yannick Nézet-Séguin becomes the eighth music director of The Philadelphia Orchestra. Named music director designate in 2010, Nézet-Séguin brings a vision that extends beyond symphonic music into the

vivid world of opera and choral music.

Philadelphia is home and the Orchestra nurtures an important relationship not only with patrons who support the main season at the Kimmel Center for the Performing Arts but also those who enjoy the Orchestra’s other area performances at the Mann Center, Penn’s Landing, and other venues. The Philadelphia Orchestra Association also continues to own the Academy of Music—a National Historic Landmark—as it has since 1957.

Through concerts, tours, residencies, presentations, and recordings, the Orchestra is a global ambassador for Philadelphia and for the United States. Having been the first American orchestra to perform in China, in 1973 at the request of President Nixon, today The Philadelphia

Orchestra boasts a new partnership with the National Centre for the Performing Arts in Beijing. The Orchestra annually performs at Carnegie Hall and the Kennedy Center while also enjoying a three-week residency in Saratoga Springs, N.Y., and a strong partnership with the Bravo! Vail Valley Music Festival.

The ensemble maintains an important Philadelphia tradition of presenting educational programs for students of all ages. Today the Orchestra executes a myriad of education and community partnership programs serving nearly 50,000 annually, including its Neighborhood Concert Series, Sound All Around and Family Concerts, and eZseatU.

For more information on The Philadelphia Orchestra, please visit www.philorch.org.

Jessica Griffin

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Music DirectorYannick Nézet-Séguin became the eighth music director of The Philadelphia Orchestra with the start of the 2012-13 season. Named music director designate in June 2010, he made his Orchestra debut in December 2008. Over the past decade, Yannick has established himself as a musical leader of the highest caliber and one of the most exciting talents of his generation. Since 2008 he has been music director of the Rotterdam Philharmonic and principal guest conductor of the London Philharmonic, and since 2000 artistic director and principal conductor of Montreal’s Orchestre Métropolitain. He has appeared with such revered ensembles as the Vienna and Berlin philharmonics; the Boston Symphony; the Accademia Nazionale di Santa Cecilia; the Dresden Staatskapelle; the Chamber Orchestra of Europe; and the major Canadian orchestras. His talents extend beyond symphonic music into opera and choral music, leading acclaimed performances at the Metropolitan Opera, La Scala, London’s Royal Opera House, and the Salzburg Festival.

Highlights of Yannick’s inaugural season include his Carnegie Hall debut with the Verdi Requiem, one world premiere, and performances of The Rite of Spring in collaboration with New York-based Ridge Theater, complete with dancers, video projection, and theatrical lighting.

In July 2012 Yannick and Deutsche Grammophon announced a major long-term collaboration. His discography with the Rotterdam Philharmonic for BIS Records and EMI/Virgin includes an Edison Award-winning album of Ravel’s orchestral works. He has also recorded several award-winning albums with the Orchestre Métropolitain for ATMA Classique. In addition, his first recording with The Philadelphia Orchestra, Mahler’s Symphony No. 5, is available for download.

A native of Montreal, Yannick studied at that city’s Conservatory of Music and continued studies with renowned conductor Carlo Maria Giulini and with Joseph Flummerfelt at Westminster Choir College. In 2012 Yannick was appointed a Companion of the Order of Canada, one of the country’s highest civilian honors. His other honors include Canada’s National Arts Centre Award; a Royal Philharmonic Society Award; the Prix Denise-Pelletier, the highest distinction for the arts in Quebec; and an honorary doctorate by the University of Quebec in Montreal.

To read Yannick’s full bio, please visit www.philorch.org/conductor.

Jessica Griffin

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Writer/DirectorTonight’s production marks Didi Balle’s second commissioned symphonic play with The Philadelphia Orchestra, after Elements of the Earth: A Musical Discovery, a symphonic play for children exploring the secret life of alchemist Isaac Newton and his ambitious lab assistant, which was performed on the Orchestra’s 2011-12 School Concert series. Ms. Balle’s work as a writer and director spans genres and includes commissions, broadcasts, and stage productions of her symphonic plays, radio musicals, plays, musical theater pieces, song cycles, and operas. She’s created a new genre of writing with her plays for actors and orchestras called symphonic plays. This coming April her newly commissioned symphonic play, A Composer Fit for a King: Wagner and Ludwig II, premieres with Marin Alsop and the Baltimore Symphony. The work dramatizes the characters’ real-life behind-the-scenes story during the making of the Ring Cycle. Other symphonic plays written and directed by her include CSI: Beethoven for the Baltimore Symphony and the Colorado Symphony; Analyze This: Mahler & Freud for the Baltimore Symphony; and Radio Rhapsody for Lincoln Center, the Saint Louis Symphony, the Colorado Symphony, the City of London Sinfonia, and the BBC. Upcoming commissions include CSI: Mozart with Ms. Alsop and the Baltimore Symphony.

Ms. Balle is the founding director of Symphonic Stage Shows. She received her Master of Fine Arts degree from NYU’s Tisch School of the Arts Music Theater Program, where she was awarded the Oscar Hammerstein Scholarship as a playwright-lyricist. She is also a published writer and journalist and worked as a contributing editor for the New York Times for 13 years. She now works from her writing studio (and tends gardens and a small orchard) on a rural island in Puget Sound with her husband, Terry Balle, a sculptor, designer, and former scientist.

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ActorJered McLenigan is a performer currently making his living out of Philadelphia. He has appeared Off-Broadway in Dublin by Lamplight, winning the 1st Irish Award for Outstanding Ensemble. Regionally he has appeared in such productions as All My Sons at Delaware Theatre Company; The Pillowman, Rock ’n’ Roll, and Amadeus at the Wilma Theater; Knives in Hens and That Pretty Pretty ... with Theatre Exile; Titus Andronicus with the Philadelphia Shakespeare Theatre; A Skull in Connemara and Henry IV, Part 1 at Lantern Theater Company; Gagarin Way at Inis Nua Theatre Company; and It’s A Wonderful Life, a Live Radio Play at the Prince Music Theater, for which he received the Barrymore Award for Outstanding Supporting Actor in a Play. He appears this month and next in Good People at the Walnut Street Theatre. Mr. McLenigan attended Kutztown University and the American Academy of Dramatic Arts in New York.

ActorRichard Poe most recently played Gunner in the Philadelphia Theatre Company’s production of The Outgoing Tide, for which he was awarded the Barrymore Award for Best Actor. On Broadway he’s been part of the original companies of the Tony-Award winning M. Butterfly, The Pajama Game with Harry Connick Jr., and Journey’s End. In addition he appeared in Cry-Baby; Moon Over Buffalo; Our Country’s Good; Execution of Justice; The Dinner Party; Tom Sawyer, The Musical; Fiddler on the Roof; and Present Laughter. Mr. Poe has created roles in the premieres of plays by Christopher Durang and Paul Rudnick and toured the country as the 1st Gangster in the Tony-Award winning revival of Kiss Me, Kate. He has also played Serge in Art in Chicago, Winnipeg, and Toronto. On television Mr. Poe has appeared on Law and Order, Ed, Pride and Joy, Army Wives, and has had recurring roles on Frasier, The Five Mrs. Buchanans, A Whole New Ballgame, and was Gul Evek on Star Trek: Next Generation, Deep Space Nine, and Voyager. His films include Speechless, Presumed Innocent, Transamerica, The Jackal, Born on the Fourth of July, The Night We Never Met, and Burn after Reading.

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ActorTony Tsendeas’s work as an actor, director, and writer has received critical acclaim both in the United States and Europe. He was the artistic director of Action Theater and was an artistic associate of the Baltimore Shakespeare Festival. He is a member of the theater faculty of the Baltimore School for the Arts. Some of his favorite roles include Jerry in The Zoo Story, Benedick in Much Ado about Nothing, Teach in American Buffalo, and the Player in Rosencrantz and Guildenstern Are Dead. His directing credits include Beckettland, The Cabinet of Doctor Caligari, The Madman and the Nun, Othello, Julius Caesar, The Complete Works of William Shakespeare (abridged), Macbeth, and Wittenberg. Mr. Tsendeas was nominated as best actor by London’s The Stage magazine for his performance in BeckettLand, which he also directed. For Didi Balle’s Symphonic Stage Shows, he has appeared as Beethoven in CSI: Beethoven, Sigmund Freud in Analyze This: Freud & Mahler, and Issac Newton in Elements of the Earth: A Musical Discovery performed with The Philadelphia Orchestra. His one man show, The Poe Show, has toured regionally.

Framing the ProgramShostakovich 5

Seventy-five years ago, under extreme political pressure, Shostakovich withdrew his Fourth Symphony and got to work on writing his now-legendary Fifth Symphony. The result was an appealing and triumphant score full of contradictions and hidden messages. Is it a tribute to the greatness of the Soviet virtues or a parody of its leadership? How could an artist create a work of such power and optimism under such harsh and restrictive conditions?

Parallel Events1937ShostakovichSymphony No. 5

MusicOrffCarmina buranaLiteratureSteinbeckOf Mice and MenArtPicassoGuernicaHistoryJapan invades China

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The MusicSymphony No. 5

Dmitri ShostakovichBorn in St. Petersburg, September 25, 1906Died in Moscow, August 9, 1975

The life and career of Dmitri Shostakovich were in a perilous state when he began writing his Fifth Symphony in April 1937. The 30-year-old composer had recently experienced a precipitous fall from the acclaim he had enjoyed throughout his 20s, ever since he burst on the musical scene at age 19 with his brash and brilliant First Symphony. That work won him overnight fame and extended his renown far beyond the Soviet Union. Bruno Walter, Wilhelm Furtwängler, Arturo Toscanini, and other leading conductors championed the Symphony and Leopold Stokowski gave its American premiere with The Philadelphia Orchestra in 1928. Shostakovich’s Second Symphony followed the next year and was entitled “To October—A Symphonic Dedication.” It included a chorus praising Lenin and the Revolution, and the Third Symphony, entitled “The First of May,” also employed a chorus to make a political statement. Despite their ideological baggage, his musical innovations continued, especially the opening of the Second Symphony.

A Fall from Grace Shostakovich had also received considerable attention for his contributions to the screen and stage, including film scores, ballets, incidental music, and two full-scale operas: The Nose and Lady Macbeth of the Mtsensk District. The latter enjoyed particular popular and critical success in the Soviet Union and abroad after its premiere in January 1934, so much so that a new production was presented at the Bolshoi Theater in Moscow two years later.

And that is when the serious troubles began that changed the course of Shostakovich’s life. Stalin attended Lady Macbeth on January 26, 1936, and left before the end of the performance. A few days later an article entitled “Muddle Instead of Music” appeared in Pravda, the official newspaper of the Communist Party. The anonymous critic wrote that the opera “is a leftist bedlam instead of human music. The inspiring quality of good music is sacrificed in favor of petty-bourgeois formalist celebration, with pretense at originality by cheap clowning. This game may end badly.”

Those terrifying last words were life-threatening; this was not just a bad review that could hamper a thriving

career. The article was soon followed by another in Pravda attacking his ballet The Limpid Stream, and then by yet another. The musical establishment, with a few brave exceptions, lined up in opposition to Shostakovich. He was working at the time on a massive Fourth Symphony, which went into rehearsals in December 1936. At the last moment, just before the premiere, the work was withdrawn, most likely at the insistence of the authorities. The impressive Symphony would have to wait 25 years for unveiling in 1961. (The Philadelphians gave the American premiere in 1963.)

The Return of Shostakovich The composer, whose first child had just been born, was well aware of the show trials and mounting purges, as friends, family, and colleagues disappeared or were killed. He faced terrifying challenges in how to proceed after the sustained attacks on his music. He composed the first three movements of the Fifth Symphony with incredible speed—he later recounted that he wrote the Largo in just three days—although the finale slowed him down. The completion of his new symphony is usually dated July 29, 1937, but the most recent investigation for a new critical edition indicates that composition continued well into the fall.

The notable premiere took place on November 21 with the Leningrad Philharmonic under Evgeny Mravinsky, at that time a relatively unknown young conductor. In the words of Shostakovich biographer Laurel Fay: “The significance of the occasion was apparent to everyone. Shostakovich’s fate was at stake. The Fifth Symphony, a non-programmatic, four-movement work in a traditional, accessible symphonic style, its essence extrapolated in the brief program note as ‘a lengthy spiritual battle, crowned by victory,’ scored an absolute, unforgettable triumph with the listeners.”

The funereal third movement, the Largo, moved many listeners to tears. According to one account, members of the audience, one by one, began to stand during the extravagant finale. Composer Maximilian Steinberg, a former teacher of Shostakovich, wrote in his diary: “The ovation was stupendous, I don’t remember anything like it in about the last ten years.” Yet the enormous enthusiasm from musicians and non-musicians alike—the ovations reportedly lasted nearly a half hour—could well have been viewed as a statement against the Soviet authorities’ rebukes of the composer—artistic triumphs could spell political doom. Two officials were sent to monitor subsequent performances and concluded that the

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audience had been selected to support the composer—a false charge made even less tenable by the fact that every performance elicited tremendous ovations.

The Importance of Art It may be difficult for contemporary American audiences to appreciate how seriously art was taken in the Soviet Union. The attention and passions, the criticism and debates it evoked—dozens of articles, hours of official panels at congresses, and abundant commentary—raised the stakes for art and for artists. For his part Shostakovich remained silent at the time about the Fifth Symphony. He eventually stated that the quasi-autobiographical work was about the “suffering of man, and all-conquering optimism. I wanted to convey in the Symphony how, through a series of tragic conflicts of great inner spiritual turmoil, optimism asserts itself as a world view.”

The best-known remark about the work is often misunderstood. In connection with the Moscow premiere of the Symphony, Shostakovich noted that among all the attention it had received, one interpretation gave him “special pleasure, where it was said that the Fifth Symphony is the practical creative response of a Soviet artist to just criticism.” This last phrase was subsequently attributed to the composer as a general subtitle for the Symphony. Yet as Fay has observed, Shostakovich never agreed with what he considered the unjust criticism of his earlier work, nor did he write the Fifth along the lines he had been told to do. Most importantly, he gave no program or title to it at any time. The work, which reportedly was one the composer thought particularly highly of in later years, went on to be one of his most popular and successful compositions and a staple of the symphonic repertory.

A Closer Look The first movement (Moderato) opens with the lower strings intoning a striking, jagged theme, somewhat reminiscent of the one Beethoven used in his “Great Fugue,” Op. 133. It is immediately imitated by the violins and gradually winds down to become an accompaniment to an eerie theme that floats high above in the upper reaches of the violins. The tempo eventually speeds up (Allegro non troppo), presenting a theme that will appear in different guises elsewhere in the Symphony, most notably transformed in the triumphant conclusion.

The brief scherzo-like Allegretto shows Shostakovich’s increasing interest at the time in the music of Mahler, in this case the Fourth Symphony, which also includes a

grotesque violin solo. The Largo, the movement that so moved audiences at the first performances, projects a tragic mood of enormous intensity. The brass instruments do not play at all in the movement, but return in full force to dominate the finale (Allegro non troppo). The “over the top” exuberance of this last movement has long been debated, beginning just after the first performances. Especially following the effect of the preceding lament, some have found the optimistic triumphalism of the ending forced and ultimately false. Perhaps it is the ambiguity still surrounding the work that partly accounts for its continued appeal and prominence.

—Christopher H. Gibbs

Program note © 2013. All rights reserved. Program note may not be reprinted without written permission from The Philadelphia Orchestra Association.

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Shostakovich composed his Symphony No. 5 in 1937.

Leopold Stokowski led the first Philadelphia performances, in March 1939. Since then the Orchestra has performed the work many times at home, as well as on domestic and international tours, including performances in Russia under Eugene Ormandy in 1958. Among the other conductors to lead the piece here are István Kertész, André Previn, Riccardo Muti, Yuri Temirkanov, Maxim Shostakovich, Leonard Slatkin, Wolfgang Sawallisch, Christoph Eschenbach, and Charles Dutoit. The most recent subscription performances were this past January, with Yannick Nézet-Séguin.

The Philadelphians have recorded the Symphony five times: in 1939 for RCA with Stokowski; in 1965 for CBS with Ormandy; in 1975 for RCA with Ormandy; in 1992 for EMI with Muti; and in 2006 with Eschenbach for Ondine.

Shostakovich scored the work for piccolo, two flutes, two oboes, two clarinets, E-flat clarinet, two bassoons, contrabassoon, four horns, three trumpets, three trombones, tuba, timpani, percussion (bass drum, cymbals, orchestra bells, snare drum, tam-tam, triangle, xylophone), harp, piano (doubling celesta), and strings.

The Symphony runs approximately 45 minutes in performance.

Musical TermsGENERAL TERMSCadence: The conclusion to a phrase, movement, or piece based on a recognizable melodic formula, harmonic progression, or dissonance resolutionCadenza: A passage or section in a style of brilliant improvisation, usually inserted near the end of a movement or compositionChord: The simultaneous sounding of three or more tonesChromatic: Relating to tones foreign to a given key (scale) or chordCoda: A concluding section or passage added in order to confirm the impression of finalityDissonance: A combination of two or more tones requiring resolutionIntonation: The treatment of musical pitch in performanceLegato: Smooth, even, without any break between notesMeter: The symmetrical grouping of musical rhythmsOp.: Abbreviation for opus,

a term used to indicate the chronological position of a composition within a composer’s output. Opus numbers are not always reliable because they are often applied in the order of publication rather than composition.Rondo: A form frequently used in symphonies and concertos for the final movement. It consists of a main section that alternates with a variety of contrasting sections (A-B-A-C-A etc.).Scale: The series of tones which form (a) any major or minor key or (b) the chromatic scale of successive semi-tonic stepsScherzo: Literally “a joke.” Usually the third movement of symphonies and quartets that was introduced by Beethoven to replace the minuet. The scherzo is followed by a gentler section called a trio, after which the scherzo is repeated. Its characteristics are a rapid tempo in triple time, vigorous rhythm, and humorous contrasts.

Sonata form: The form in which the first movements (and sometimes others) of symphonies are usually cast. The sections are exposition, development, and recapitulation, the last sometimes followed by a coda. The exposition is the introduction of the musical ideas, which are then “developed.” In the recapitulation, the exposition is repeated with modifications.Tonality: The orientation of melodies and harmonies towards a specific pitch or pitches Tonic: The keynote of a scale

THE SPEED OF MUSIC (Tempo)Allegretto: A tempo between walking speed and fastAllegro: Bright, fastLargo: BroadModerato: A moderate tempo, neither fast nor slow

TEMPO MODIFIERSNon troppo: Not too much

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Orchestra HeadlinesPhiladelphia Orchestra Musicians in Concert

The Dolce Suono Ensemble, which includes numerous Orchestra members, presents a DSE on the Road concert on Sunday, March 3, at 3:00 PM at Croft Farm, 100 Bortons Mill Road, in Cherry Hill, NJ. For more information, call 267.252.1803 or visit www.dolcesuono.com.

1807 & Friends, a chamber music group whose roster includes many Philadelphia Orchestra musicians, presents a concert on Monday, March 4, at 7:30 PM, at the Academy of Vocal Arts, 1920 Spruce Street, Philadelphia. The performance, which features Philadelphia Orchestra Associate Principal Flute David Cramer and pianist Cynthia Raim, includes works by Weber, Gaubert, and Mendelssohn. Single tickets are $17.00. For more information, please call 215.438.4027 or 215.978.0969.

The Main Line Symphony, led by Philadelphia Orchestra bassist Henry Scott, presents the second concert of its 2012-13 season on Friday, March 15, at 8:00 PM at Valley Forge Middle School, 105 West Walker Rd., Wayne. The program features Philadelphia Orchestra Assistant Principal Bass Joseph Conyers in Bottesini’s Double Bass Concerto No. 2, along with Enesco’s Romanian Rhapsody No. 1 and Dvorák’s “New World” Symphony. Tickets are $18.00 for adults and $12.00 for students and senior citizens. For more information, please call 610.688.0235 or e-mail info@mlso.org.

New Barbara Govatos Recording

A new boxed set recording of the complete Beethoven Sonatas for Violin and Piano by Orchestra violinist Barbara Govatos and pianist Marcantonio Barone was recently released on Bridge Records. The set is available through Bridge Records or Amazon. This past November the duo received the Classical Recording Foundation’s Samuel Sanders Award for Collaborative Artists in recognition of the new recording.

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Beyond the Score®: Prokofiev 5Thursday, April 11 7 PMJaap van Zweden Conductor

Prokofiev Symphony No. 5

In 1936, after nearly 20 years in the West, Prokofiev returned to his native Russia, now the Soviet Union, where he found it more difficult than he had thought to write music to please the Communist authorities. But when war came in 1941, the atmosphere changed. The regime needed artists to inspire and lead. Prokofiev played his part, and, as the tide of war turned in 1944, he created one of his most paradoxical and yet melodious masterpieces.

Philadelphia Orchestra performances of Beyond the Score® are made possible by support from the Hirschberg-Goodfriend Fund in memory of Adolf Hirschberg as established by Juliet J. Goodfriend, and by the Wells Fargo Foundation. Additional funding comes from the Annenberg Foundation, the Pennsylvania Council on the Arts, and the Pennsylvania Department of Community and Economic Development. Beyond the Score is produced by the Chicago Symphony Orchestra: Gerard McBurney, Creative Director, Beyond the Score; Martha Gilmer, Executive Producer, Beyond the Score.

Radio Sponsor WXPN.

TICKETS Call 215.893.1999 or log on to www.philorch.org All artists, dates, programs, and prices subject to change. All tickets subject to availability.

April The Philadelphia Orchestra

Explore the history, context, and details of Prokofiev’s powerful Fifth Symphony.

Jessica Griffin

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